‘If painting can do anything, at best it will take you somewhere else emotionally, sensually, intellectually but it will always lead you back to being human.’                      

Vanda Harvey, March 1999

Harvey’s visual journey has been to capture an essence, pinning down the marriages between thought and emotion, colour and form in a painting, only to find there are many resulting narratives for the viewer. This is essentially liberating for the artist. In the very act of painting, Harvey has to believe she is creating the particular, a defined truth whatever that might be. Whilst there will be many references, the emotion needs to be authentic and the forms new. What becomes most interesting for Harvey is the other: the ambiguities and the suggestions that follow. A combination of painted gestures and colours insist upon their physical presence on the canvas, emphatic and indisputable in their reality, yet the element that at best becomes art is not on the canvas at all. It is in the transmission, the air and vibration between the painted surface and the viewer. The juxtapositions of colour, gesture and space work on the central nervous system, conveying sensuality and referencing fragments of half-remembered images. This all becomes a new code within the rectangle to be experienced and translated.

Meanings will shift in terms of context and time as values alter for subsequent generations. In the decades to come, Harvey believes that some residue of what was felt will always transmit across the six feet between the surface of the painting and the unsuspecting heart of the viewer.